Klavierauszug-The Romance for Violin and Orchestra No. 1 in G major was written in 1802 and published in 1803 as opus 40 while the earlier Romance for Violin and Orchestra No. 2 in F major was written in1798 but not published until 1805 as opus 50 leading to some confusion as to the actual chronology. Ludwig van Beethoven (1770 1827) was a German composer and pianist and arguably the most famous composer ofall time. He was the last great figure of the Classical era and helped pave the way for the Romantic style that followed. His compositions include 9 Symphonies 5 Piano Concertos 1 Violin Concerto 32 Piano Sonatas and 16String Quartets.

Ravel, Maurice Tzigane Concert rhapsody for violin and piano In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D?Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D?Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel?s virtuoso classic ?Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated ?Tzigane? and both versions remain a ?must? for music-lovers and aspiring violinists today. Jelly D?Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel?s masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer?s earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition; one of the available sources, consulted for the first time, was a copy of ?Tzigane? from the estate of Jelly D?Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D?Aranyi. D?Aranyi?s alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D?Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto. - First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano - Includes Jelly D?Aranyi?s fingering

Concerto in the Old Style Concerto in A Minor (18th century style)-Now available for the very first time the reduction for violin and piano of Ottorino Respighi’s Concerto all’antica originally composed for violin and orchestra.Composed in 1908 Respighi’s Concerto all’antica reflects one of the most characteristic artistic aspects of this composer namely his love for ancient music. This can also be seen in those of his works that adopt the toccata and concertoforms (Toccata for piano and orchestra Concerto a cinque) as well as his use of the late Renaissance/Baroque style for the three suites in his Antiche danze ed arie per liuto or in his Uccelli. We find it again in hisSuites per istrumenti ad arco (1902) and his Concerto all’antica for violin (1908) here provided.

A Violin and Piano arrangement of the Philip Glass Violin Concerto with the Piano reduction by Charles Abramovich. The original concerto for Violin and Orchestra was commissioned by the American Composer's Orchestra who gave thefirst performance at Carnegie Hall New York on 5th April 1987.

Composed in 1924 for Violin and Luthéal (A keyboard instrument which never gained much popularity) Tzigane demonstrated Ravel's ability to go beyond his natural Impressionist style and write a piece which would be much better categorized as Late Romantic. First performed with the Luthéal substituted for a Piano in 1925 today the piece is accepted as either being performed with the Piano and Violin or Orchestra and Violin Ravel himself having arranged the piece for Orchestra.

for Violin Viola and Orchestra-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score

Nocturne Klavierauszug mit Solostimme - KA SoloSt - violin and orchestra Henri Dutilleux was born in Angers, France, in 1916. This ten-minute Nocturne in one movement was first performed in London by Anne-Sophie Mutter. The demanding solo part has closely alternating virtuoso and lyrical passages. The orchestra accompanies and engages in a dialogue with the solo violin in a colourful and elegant manner that is typically French. The violin part in this edition contains bowings and fingerings by Anne-Sophie Mutter.

for Violin and Piano-Following the publication of the Valse-Scherzo we continue Henle's edition of Tchaikovsky?s complete works for violin and piano with the enchanting Sérénade mélancolique op. 26. This was Tchaikovsky?s first concertante work forviolin the beginning of a path that was to lead to his Violin Concerto three years later. He composed the Sérénade mélancolique in 1875 for violinist Leopold Auer originally for violin and orchestra but later also in a versionfor violin and piano. Since the autograph sources are lost this Henle edition is based on the Russian first editions which even in Tchaikovsky?s lifetime were issued in a number of revised versions. The editor RussianTchaikovsky scholar Alexander Komarov brings exemplary clarity to the confused state of the sources while Ingolf Turban unlocks the notation of the violin part with his accomplished fingerings and bowings.

Originally written for Violin and Orchestra between 1873 and 1877 Dvo ák?s Romance immediately followed his String Quartet in F minor (1873) and draws on the theme from its slow movement. He probably wrote the Romance for his friend the Violin virtuoso Franti?ek Ond ek who later premiered Dvo ák?s Violin Concerto in 1883.This Barenreiter edition is the first to avail itself of the recently rediscovered autograph of Dvo ák?s own version for Violin and Piano. Compared to the well-known Piano reductions it differs from the Orchestral version in several important respects and is also one barshorter.This new edition containing the composer?s more authentic version can nevertheless also serve as a Piano reduction to the Orchestral version.First edition of the Piano version based on Dvo ák?s autograph.Foreword by David R. Beveridge (Cz/Eng/Ger).Critical Commentary (Eng) by the editor.

Born in 1955 Lebanese-French composer organist and improviser Naji Hakim studied under Jean Langlais at the Paris Conservatoire before succeeding Olivier Messiaen as organist of the Saint Trinity Church in Paris. Considering his significant musical training Hakim's compositions are created from a wealth of knowledge and understanding Concerto For Violin being no exception. Composed in 2002 Concerto For Violin with String Orchestra or Piano reduction accompaniment is highly modern in composition. With a typical performance lasting about 35 minutes the concerto is made up of three movements. Thesolo Violin line addresses many virtuosic techniques including double and triple stops articulation complex rhythms varying bowings and a huge range of performance directions amongst other aspects. For all advanced violinists seeking varied modern repertoire Hakim's Concerto For Violin is an essential addition to the repertoire. This is a reduction for Violin and Piano.

Composed for Violin and Piano in 1914 and reworked for Violin and Orchestra in 1920 The Lark Ascending is on of Vaughan Williams's most enduringly popular works. A serene romance the work takes its title from a poem by George Meredith. The Violin's magical evocation of the lark's 'chirrup whistle slur and shake' as it soas above delicate orchestral textures demonstrates the composer's mastery of the pastoral idiom. This new edition of the version for Violin and Piano includes an introduction by Michael Kennedy and is produced with the support of RVW Ltd.

2 volumes in a slipcase with marked and unmarked string part with orchestra parts-On the occasion of the 70th birthday of Gidon Kremer violinist extraordinaire G. Henle Publishers is issuing a special edition of Beethoven?s Violin Concerto in collaboration with the Kronberg Academy. It comprises two editions gathered together in an attractive slipcase: the piano score and violin part without annotations (also available as HN 326) and the ?Kremer part?. The latter includes fingerings and bowings by Gidon Kremer. The musical text isfollowed by an essay by Kremer about recordings of the Beethoven Concerto bearing the attractive title: ?Searching for Ludwig?. And this is not all: the first-movement cadenza by the composer Victor Kissine which Kremer hasalready played numerous times is published here for the very first time. The solo violin is here accompanied by wind and percussion. The edition also includes the corresponding performance materials for the cadenza including thescore and a piano reduction for study purposes. This extraordinary Urtext edition is rounded off with a foreword by Friedemann Eichhorn. Congratulations Maestro Kremer!